FLORIN
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JULIA
BOLTON HOLLOWAY, AUREO ANELLO
ASSOCIATION,
1997-2010: FLORENCE'S 'ENGLISH' CEMETERY
|| BIBLIOTECA E BOTTEGA FIORETTA MAZZEI
|| ELIZABETH BARRETT BROWNING || WALTER SAVAGE
LANDOR || FLORENCE
IN SEPIA || BRUNETTO
LATINO, DANTE ALIGHIERI AND GEOFFREY
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AUREO ANELLO,
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THE SONNET AND ELIZABETH BARRETT BROWNING
Sophia Eckley, who exploited Elizabeth, commissioned Michele
Gordigiani
to paint the portraits of Elizabeth Barrett and Robert Browning, now in
London's National Portrait Gallery,
Harriet Hosmer sculpted their
'Clasped Hands',
Robert commissioned Giorgio Mignaty to paint the
salone of Casa Guidi as it had been when Elizabeth wrote in it. These,
with the constant re-publication of the Sonnets from the Portuguese,
present the public picture of the Brownings' wedded love. But beneath
the surface another and opposite reality lurked.
Michele Gordigiani's portrait shows Elizabeth with dark Creole
features. Her
family were slave owners in Jamaica, owning the great Cinnamon Hill
plantation. Her grandmother returned home there following her marriage
to Charles Moulton and her children therefore took the name
of their maternal grandfather, Barrett Moulton Barrett, Moulton being
a slave-dealer and himself part Black. Edward, Samuel and their sister
were sent
to England for their education, 'Pinkie' dying soon after of
tuberculosis. Edward married into another slave-trading family, this
time based on the Tyne, and Elizabeth and Edward were their first-born
children of a total of twelve, for whom Edward Barrett Moulton Barrett
constructed a
Turkish-style palace plonked down in the Malvern countryside, and which
was furnished by him with a magnificent library. Elizabeth and Edward
studied under a brilliant Irish tutor, McSwiney, who taught them Greek
and Latin, Elizabeth also studying Hebrew.(1) It was to Elizabeth that
fell the task of climbing out of the stigma of their ancestry through
her learning, through her poetry, through her fame, dragging her family
with her. But she, like her aunt, was afflicted with tuberculosis and
given the typical treatment of laudanum.
John Kenyon used to say 'In Jamaica we are all cousins', intermarriage
to protect the heirs entail of large plantations being typical. Such as
that arranged to be between Romney Leigh of Leigh Hall and Aurora Leigh
in the eponymous poem dedicated to John Kenyon.The
West Indian merchant families, when in London, particularly congregated
in the St Marylebone Parish, in Wimpole Street and Devonshire Place. To
his dinner parties John Kenyon would invite William Wordsworth, Walter
Savage Landor, Robert Browning and Elizabeth Barrett Moulton Barrett,
though not the last two to the same party. Robert's father's mother's
family, the
Tittles, had had Black and Jewish roots in Jamaica, then moved to St
Kitts.
Robert's father obsessively drew images of the Islands' inhabitants.
Robert published Paracelsus,
his poem about the inventor of laudanum, in 1835. Elizabeth was asked
in 1844 to fill up a volume of her poems, which she promptly did with Lady Geraldine's Courtship, in
which the low-born poet Bertram is wooed by the aristocratic
golden-ringletted Lady
Geraldine. In one scene, in Sussex, they are reading poetry together of
. . . the pastoral parts of Spenser - or the
subtle interflowings
Found in Petrarch's sonnets - here's the book - the
leaf is folded down!
Or at times a modern volume, - Wordsworth's
solemn-thoughted idyl,
Howitt's ballad-dew, or Tennyson's enchanted
reverie, -
Or from Browning some 'Pomegranate,' which, if cut
deep down the middle,
Shows a heart within blod-tinctured, of a veined
humanity! -
Robert, coming home from Europe found the volume given his family by
John Kenyon and so dashed off his first love letter to her and thus
began the courtship to be followed by their clandestine marriage amd
elopement to Italy in 1845. Years later, their son Pen Browning, Robert
Barrett Browning, would publish their love letters for these are
exquisite, as exquisite as are the Sonnets. But one day, during that
courtship, Robert had cattily spoke against women writing novels,
writing sonnets.
Elizabeth, who had already begun the famous cycle, did not tell him of
their existence, though she quietly continued the task. It was not
until after their son was born at Casa Guidi and after they had gone
with the new-born Pen to the coolness of Bagni di Lucca when, one
morning, Robert said something positive about women's writing and
Elizabeth quietly said she had once written some things for him, and
gave him these poems. Robert wrote later, after her death, about
'that strange, heavy crown, that wreath of sonnets, put on me one
morning unawares, three years after it had been twined - all this
delay, because I happened early to say something against putting one's
loves into verse: then again, I said something else on the other side,
one evening at Lucca'.(2)
He immediately saw their publishability. Together they sought a title
for the work, she wanting them half-hidden as translations 'from the
Bosnian'. He, instead, being now EBB's literary agent, decided upon
'Sonnets from the Portuguese', in reference to her Creole darkness and
to her
similarity to the great Portuguese epic poet's love, Caterina, of whom
she had written in 'Caterina to Camoens, dying in his absence abroad,
and referring to the poem in which he recorded the sweetness of her
eyes' (1844). But that title Robert gave the cycle carried with it also
the
nuance of the infamous pornographic 'Letters from a Portuguese Nun'.
Later, the publication date would be called into question by the
bibliographic
forger, Thomas J. Wise (1858-1937), who pre-dated his 'Reading Sonnets'
to 1847, though the Sonnets from the
Portuguese had received their initial publication under Robert's
auspices in 1850, along with EBB's Sonnet on 'Hiram Powers' Greek
Slave'. Somehow, here, the ground work is being laid for the scandal at
the heart of The Ring and the Book
concerning the letters by, or forged as if written by, Pompilia to
Caponsacchi.
The sonnets had always been published in Robert's edited version of
them. My editon for Penguin returns to the manuscript, now in the
British Library, that Elizabeth so shyly, with such hurt, once gave to
Robert at Bagni di Lucca, and which replicates its Greek-like
punctuation.(3)
To read the Sonnets in their own right, stripped of the Rialto of
mercantilism, is to find illness, learning and love passionately
harnessed within Petrarch's fourteen lines to achieve magnificence and
healing. Elizabeth, clearly, has been at death's door. Instead, it is
opened to let in, she believes, love. The first sonnets celebrate
this miracle. Sonnet I, 'I thought once how Theocritus had sung', takes
us to a long ago Sicilian poet writing Idylls on
the loves of shepherds and shepherdesses.(4) Elizabeth had read him in the
schoolroom with her now-dead
brother,
Edward. We find ourselves translated from English into Greek, from
modernity to antiquity, then as suddenly yanked back by the hair to
this moment in time where the transformation is from death to love.
Sonnet II, 'But only three in all God's universe - ', also alludes to
Edward's death so nearly prompting Elizabeth's, but this time in the
Judaeo-Christian context, speaking of the presence of three, Robert,
Elizabeth, God as their witness, though also speaking of the
death-weights, coins, Rule Britannia pennies laid on Elizabeth's dead
staring eyes to close them, then continuing into Apocalyptic imagery
such as she had used in the sickroom drama she had written on the death
of the soul, Psyche
Apocalypté,
following her brother's death at Torquay, but here as the triumphal
cosmic wedding song, recalling Spenser, Shakespeare and Donne. Sonnet
III, 'Unlike are, unlike, O princely Heart!', renounces Robert to the
world of social pageantry, accepting her own likely dying, her 'leaning
up a cypress tree',(5) but it
had begun by speaking of their two guardian angels as the two Cherubim
whose wings enshroud the Ark and which symbolize the presence of God,
an image repeated in Sonnet XXIII. Sonnet IV, 'Thou hast thy calling to
some palace floor', continues this abandoning of Robert to the joys of
this world rather than the sorrows of hers.
Sonnet V, 'I lift my heavy heart up solemnly', is particularly
profound. Elizabeth as a child with her younger brother had read
Aeschylus. Here she imagines herself as Electra at her father's tomb,
met not by her brother Orestes, her brother Edward, but by her poet
friend Robert. She counsels him to stand farther off, at a distance
from the remnants of the flames.(6)
Interestingly, Elizabeth's maid, Lily Wilson, who would accompany them
to Italy, then had two sons, naming these Orestes and Pylades. Had she
had a daughter she was to be named 'Electra'. Elizabeth translated the Agamemnon. Later, Robert would do
so.(7) And not so well.
Sonnet VI, 'Go from me. Yet I feel that I shall stand', continues that
admonition. While Sonnet VII, 'The face of all the world is changed I
think', begins to admit hope, the sense of the footsteps on the stair.
Yet Sonnets VIII, 'What can I give thee back, o liberal', and IX, 'Can
it be right to give what I can give', plunge back into prohibition.
Sonnet X, 'Yet love, mere love, is beautiful indeed', again plays at
the deepest level with Elizabeth's knowledge of Hebrew and of Robert
with his 'Bells and Pomegranates' as High Priest Aaron, whose wife was
named Elizabeth. In this sonnet she openly proclaims her love for him,
and speaks of it as light and fire, as when a cedar temple burns or
flax. She knows that the priestly garb of white linen could not be
washed and when soiled was turned into wicks for the lamps in the
Jerusalem Temple.(8) Sonnet
XI, 'And therefore if to love can be desert', slips back into
renunciation, likewise Sonnets XII, 'Indeed this very Love, which is my
boast', and XIII, 'And wilt though have me fashion into speech'. But
the image of the torch dropped at his feet recalls again the classic
world where the downcast torch symbolizes sexual satiety as at a
consummated wedding, or death as at a funeral.(9) Sonnets XIV, 'If thou must
love me, let it be for nought', and XV, 'Accuse me not, beseech thee,
that I wear', remind one of a newborn dragonfly, its wings
strengthening and glistening in the sunlight. Likewise XVI, 'And yet .
. because thou overcomest so', and XVII, 'My poet, thou canst touch on
all the notes'. Indeed, all these sonnets are about the choice she must
make now between death and love. In them she creates mandalas of
healing, incorporating the entire universe and their private lives
joined together in her sick room, so carefully sealed against drafts
and London's polluted air.
Sonnets XVIII, 'I never gave a lock of hair away' and XIX, 'The soul's
Rialto hath its merchandise' speak of her gift to Robert of a lock of
her hair and his in exchange. She speaks of herself autobiographically,
drawing her own self-portrait, her head to one side (the result of the
childhood tuberculosis to her spine for which pain she took laudanum),
her hair in spaniel locks that she had thought would have been cut
first by the funeral shears (when she died sixteen years later, Robert
was to cut both her hair and Pen's, making his dead wife, his living
son, unrecognizable, and not give any of the locks away). She speaks
obliquely of his laurel-clad locks as purply black as those of the
classic poet Corinne who bested Pindar in competing with her odes
(EBB's poetry, particularly in its similes, plays games with gender
reversal). She lays Robert's lock of hair in a locket at her heart,
expecting it to be found by those who dress her body for the tomb.
So often in these Sonnets, III, IV, VIII, XII, XXI, she
speaks of
Robert as regal, as princely, as clad in purple robes. Which he will be
in Pen's portrait of him in his Oxford gown and in a Savonarola chair.(10)
In Sonnet XXIV the paradoxes are ratcheted up unbearably - and
laughingly. She laughs at the idea of lying dead and mouldering - and
being close to Heaven, all of which she now willingly exchanges in this
Rialto for Robert's love here on earth. By XXV, she is speaking of love
and 'amreeta' in one and the same breath, the Indian sacred draft but
also the word used by her for laudanum which she knows Robert knows,
their courtship being through his Paracelsus,
inventer
of
the
same.
In Sonnets XXVII, 'I lived with visions for all
my company' and XVIII, 'My own beloved, who hast lifted me', she speaks
of her drugged spiritualistic days being now replaced by love, 'That
Love, as strong as Death', a phrase William Holman Hunt will himself
sculpt on his wife Fanny's tomb besides Elizabeth's in the 'English'
Cemetery. The words are taken from the Song of Solomon 8.6-7.
At Sonnet XXIX, 'My letters! - all dead paper , . . mute and white! - '
the two genres cross over, indeed, they were secretly simultaneous, the
letters with their declarations of love, the sonnets. Sonnet XXX, 'I
think of thee! - my thoughts do twine & bud', speaks of herself as
the wild vine that chokes the palm tree that is Robert, both allowing
nature to thrive but also fearing her deathly presence. Sonnet XXXI, 'I
see thine image through my tears tonight', has her be the acolyte at
the altar - who faints on the stairs, hearing as he does so the
Hebrew 'Amen'. Sonnet XXXII, 'Thou comest! - all is said without a
word! - ', gives us the mood swings to depression, doubt and despair
ending as it does with thoughts 'Like callow birds left desert to the
skies'. Sonnet XXXIII, ?the first time that the sun rose on thine oath
To love me', continues that doubting. Then Sonnets XXXIV, 'Yes, call me
by my pet-name . . . ', and XXXV, 'With the same heart, I said, I'll
answer thee', truly admit the lovers into intimacy. 'Ba' was the name,
matched by Edward's 'Bro'. She now shares that secret name by which her
dead mother and brother had called her with Robert. It is also the name
of the soul bird of the Egyptians that cannot return to the tomb if
there is no name, no portrait.(11)
Sonnet XXXVI, 'If I leave all for thee,
wilt
thou
exchange
And
be all
to me?' gives us their talk of elopement, that plotting and planning in
secret from her father. Sonnet XXXVII, 'When we met first and loved, I
did not build Upon the event with marble', gives her fears that their
hands (those sculpted by Harriet Hosmer) will unclasp, that the kiss
will fall (as it did in Robert's telling of her dying) between them.
Sonnet XXXVIII, 'Pardon, oh pardon, that my soul should make', ends
with the exquisite simile
As if a
shipwrecked pagan, safe in port,
His guardian seagod to commemorate,
Should set a sculptured porpoise . . . gills
a-snort,
And vibrant tail, . . . within the
temple=gate.
Sonnet XXXIX, 'First time he kissed me, he but only kissed', bears
witness to their bethrothal - or affair. Perhaps Robert's comment
against women's writing is from fear of compromising letters, such as
would later be used against his widower father in a breach of promise
suit. Sonnet XL, 'Because thou hast the power and own'st the grace', is
modelled on Shakespeare's powerful Sonnet XCIV, 'They that have the
power to hurt and will do none'. Sonnet XLI, 'Oh yes! - they love
through all this world of ours! . -', speaks, as will Sonnet XLIV,
'Beloved, thou hast brought me many flowers', of nosegays from Robert's
New Cross. She speaks of betrayals by Moslems and Giaours and of the
Odyssey's Polyphemus whose
love turns to hate. Sonnet XLII acknowledges
in this private verse her fame as a great though imprisoned poet,
thanking her fans and asking that they salute this enduring love.
Sonnet XLIII, 'How do I love thee? Let me count the ways', sets my
teeth on edge as much as does Shakespeare's CXVI, 'Let me not to the
marriage of true minds'. Far preferable to it is Sonnet XVII, '"My
future will not copy fair my past . . "', in
the British Library manuscript sequence, which was not published there in the Brownings'
edition of
the 1850 Poems but apart from
the other Sonnets from the Portuguese.
Here,
Elizabeth
picks
up
the theme of Aaron's staff as Joseph of
Arimathea's pilgrim one budding with green leaves. The sonnet cycle,
though suppressed, has wrought its healing and her freedom.
The Sonnets from the Portuguese
for decades were the only poems of Elizabeth Barrett Browning that were
kept in print - and they were translated into numerous languages,
Portuguese, Spanish, French, Italian, German, Czech, Hngarian.(12) But
she wrote
other sonnets as well, besides this cycle, always about personal
autobiographical events, using, as she had observed, 'the
subtle
interflowings
Found
in
Petrarch's sonnets'. She
defied her friend Wordsworth's sonnet on the
sonnet, 'Nuns fret not at their convent's narrow rooms'. When she and
Robert came to Florence they visited Hiram Powers' studio and there saw
his Greek Slave, a Christian woman auctioned off by Muslim Turks. This
caused her to write against that anguish she experienced in her Wimpole
Street sickroom shut up by her previously slave-owning father, who had
earlier at Hope End built them a Turkish seraglio complete with
crescents and minarets, that anguish she had written of in her Sonnets from the Portuguese, now
seeing this bondage as pervading the globe, reaching to western
America,
to eastern Russia.
They say
Ideal
Beauty cannot enter
The
house of anguish. On the threshold stands
An alien Image
with the shackled hands,
Called the Greek
Slave: as if the sculptor meant her,
(That passionless
perfection which he lent her,
Shadowed, not
darkened, where the sill expands)
To, so, confront
men's crimes in different lands,
With man's ideal
sense. Pierce to the centre,
Art's fiery
finger! - and break up erelong
The serfdom of
this world! Appeal, fair stone,
From God's pure
heights of beauty, against man's
wrong!
Catch up in thy
divine face, not alone
East griefs but
west, - and strike and shame the
strong,
By thunders of white
silence, overthrown!
In this she picks up the theme from her girlhood of her love of Lord
Byron and his poetry for the freedom of Greece, and her classical
studies in the schoolroom with Bro, knowing that Greek poets wrote
epigrams for statues to say in ekphrasis.
Here Elizabeth becomes
Euripedes' Alcestis'
Alcestis, becomes Shakespeare's Winter's
Tale's Hermione, becomes alive and free.
We do not find sonnets among her earlier poetry. It is in the volume of
Poems, 1844, that she first
published in the genre, beginning with another ekphrasis, her lines 'On
a Portrait of Wordsworth by B.R. Haydon', a portrait which Haydon gave
her and which hung in her Wimpole Street sickroom, the sonnet opening
'Wordsworth upon Helvellyn!' and speaking of him as 'poet-priest'. Her
second sonnet in that volume is the first version of 'My future will
not copy fair my past', and well worth reading in the light of the Sonnets from the Portuguese. Two of
these sonnets are addressed to George Sand, whom she much admired,
though Robert did not. In the 1850 Poems, where her sonnet on Hiram
Powers' Greek Slave appeared, she also wrote sonnets on 'Flush or
Faunus', her spaniel given her by Miss Mitford to console her following
brother's death by drowning and her own near-death, and three
Miltonesque sonnets on her blind Grecian friend, Hugh Stuart Boyd.
Elizabeth Barrett Browning wrote in many genres, the epic in Aurora Leigh, the drama in her
translations from the Greek, the verse essay, the romance, the lyric,
but it is in the sonnet that the common public most remembers her. Her
sources for her sonnets are in Petrarch, in Surrey, in Sydney, in
Spenser, in Milton, in Wordsworth. Her great friend, Anna Jameson,
among her many books, wrote The
Loves of the Poets, discussing Surrey's sonnet cycle to
Geraldine. It was Anna Jameson and her niece Gerardine who accompanied
the two poets Elizabeth Barrett and Robert Browning on their elopement
from Paris to Pisa. It was in Vaucluse on that honeymoon that Flush,
EBB's alter ego with
spaniel locks, dashed away from her into the fountain, being baptized,
Elizabeth said, in Petrarch's name.
Greatly daring, Elizabeth, a woman, had written sonnets to a fellow but
male poet, turning the tables on the genre. Greatly daring, two poets
married each other. That that marriage did not continue the success
that it began is not much recognized. Robert and Flush were both
jealous of Elizabeth's love for Pen and Robert of the public's love for
Elizabeth. Robert did not write love poetry to her, save the few lines
in The Ring and the Book,
which is the story of a husband murdering his wife. He never returned
to her grave site in Florence, he interfered with Lord Leighton's
design for her tomb, removing her portrait from it and placing, not her
name, nor her nickname of 'Ba', but only her initials, 'E.B.B.', and
her deathdate. The portrait Robert has Francesco Giovannozzi give is
the exact opposite of Elizabeth, the seemingly blonde hair swept back
behind her ears into a chignon, tucked away from her face, her held
held up.(13)
We are looking
not at E.B.B., the wealthy Créole heiress from Jamaica, of the
Michele Gordigiani portrait, painted across the street in his
studio in Piazzale Donatello, but at the 'Lady Geraldine' this
low-born poet Bertram would like to woo. Visitors to the 'English'
Cemetery, who come because of the fame of Elizabeth Barrett Browning's Sonnets from the Portuguese, cannot
identify it without help from the custodian.
Julia Bolton Holloway
'English' Cemetery, Florence
Notes
1. Jeanette
Marks, The Family of the Barrett: A Colonial Romance (New York: The Macmillan Company, 1938),
passim. This book carefully researched primary materials in
Jamaica and St Kitts concerning the Barrett, Moulton, Tittle and
Browning
families. Joseph Shore and John Stewart, In Old St James (Jamaica):
A Book
of Parish Chronicles (Kingston,
Jamaica:
Aston
W.
Gardner,
1911).,
includes
chapter
on
'The Barretts of Cinnamon Hill',
and 'A Book of Slaves'.
2. Robert Browning and Julia
Wedgewood, a Broken Friendship as Revealed by their Letters, ed.
Richard Curle, 1937, p. 114;
The Letters of Elizabeth Barrett
Browning to her Sister Arabella, ed. Scott Lewis (Waco, Texas:
Wedgestone Press, 2002), p. 371.
3. Elizabeth Barrett Browning, Aurora
Leigh
and
Other
Poems, ed. John Robert Glorney Bolton and Julia
Bolton Holloway (Harmondsworth: Penguin, 1995).
4. In a Vision of Poets,
EBB
wrote
Theocritus, with glittering locks
Dropt sideway, as betwixt the rocks
He watched the visonary flocks. (322-324)
From The
Complete Works of Elizabeth Barrett Browning, ed. Charlotte
Porter and Helen A. Clarke (New York: Thomas Y. Crowell, 1900; AMS
reprint, 1973), II.322. At the time of Robert's courtship Elizabeth was
translating Bion, Sappho, Theocritus, Apuleius, Nonnus, Hesiod,
Euripides, Homer, Anacreon, ed. Porter, Clarke, VI.140-165.
5. EBB's tomb is now shaded by Etruscan cypress trees in Florence.
6. Florence's Swiss-owned so-called 'English' Cemetery uses Classical
and Egyptian themes, though Judaeo-Christian, and many of its Victorian
tombs are shown with urns for ashes, upon pillars (before cremation was
practised or was legal), or with obelisks and hieroglyphs, influenced
by the 1828 Expedition of Champollion and Rosellini made to Egypt and
Nubia, funded by the Grand Duke of Tuscany.
7. Aeschylus, Prometheus Bound,
trans.
Elizabeth
Barrett
Browning,
ed. Porter, Clarke, VI.81-134; Agamemnon,
trans. Robert Browning, The
Poetical Works of Robert Browning, ed.
Robert
Browning
(London.
Smith, Elder, and Co. 1889), vol XIII.
8. Rev. Dr. Edersheim, The Temple,
Its Ministry and Services as They Were at the Time of Jesus Christ
(London: Religious Tract Society, 1874), p. 74.
9. See, in this regard, particularly Milton's Comus. The up-ended torch is
frequent on tombs in the 'English' Cemetery, particularly being shown
in pairs for married couples.
10. See the frontispiece to Charles Hodell,
The Old Yellow Book: Source of Browning's
The Ring and the Book. Photo-Reproduction with Translation, Essay,
Notes (Washington, D.C.: Carnegie Institution of Washington, 1908),
giving Pen's portrait of his father in his Oxford robes, holding the
Old Yellow Book.
11. R.O. Faulkner, The Ancient Egyptian Book of
the Dead
(London:
British Museum Publications, 1990), passim, giving the Ba as the
human-headed soul, partner to the mummied body, preserving it from a
second death.
12. Elizabeth Barrett Browning, Sonetos
Portugeuses, trans.
Manuel
Corrêa de Barros (Lisboa: Relogio d'Agua,
1945);
Sonnets
portugais, trad. Lauraine Jungelson (Paris: Gallimard, 1994);
Sonnets from the
Portuguese/
Portugalske
sonety, trans. Hanna Zantovska (Bratislava: Nestor, 2001); Portugal
Szonettek. Trans. Kardos Laszlo. Budapest: Magyar Helkon, 1976;
Sonetti
dal
Portoghese,
trad.
Rina
Sara Virgilito (Firenze: Libreria delle donne, 2005); Sonetti
dal
portoghese,
trad.
Bruna
Dell'Agnese (Montebelluna: Amadeus, 1991); Sonnette aus
dem Portugiesischen.
Trans. Rainer Maria Rilke. Nachwort, Elisabeth Kiderlen (Leipzig: Insel
Verlag, 1991).
13. Julia Bolton Holloway, 'An Old Yellow Book, the Documents in the
Case: The Death and Burial of Elizabeth Barrett Browning': Paper given
at the Armstrong Browning Library, 2006; Lecture given to the Boston
Browning Society, 2008: http://www.florin.ms/ebbdeath.html
FLORIN
WEBSITE©
JULIA
BOLTON HOLLOWAY, AUREO ANELLO
ASSOCIATION,
1997-2010: FLORENCE'S 'ENGLISH' CEMETERY
|| BIBLIOTECA E BOTTEGA FIORETTA MAZZEI
|| ELIZABETH BARRETT BROWNING || WALTER SAVAGE
LANDOR || FLORENCE
IN SEPIA || BRUNETTO
LATINO, DANTE ALIGHIERI AND GEOFFREY
CHAUCER
|| E-BOOKS
|| ANGLO-ITALIAN
STUDIES
|| CITY AND
BOOK
I,
II,
III,
IV, V || NON-PROFIT
GUIDE TO COMMERCE IN FLORENCE
||
AUREO ANELLO,
CATALOGUE